جستجوی مقالات مرتبط با کلیدواژه « Religious Film » در نشریات گروه « علوم اجتماعی »

The question of the nature of religious cinema has had many answers, such as the Spiritual, Transcendental and Conceptual cinema and efforts have been made to study religious cinema such as style, genre, and type. Rather than presenting structural definitions of religious cinema, this article try to an inductive approach to determine the social and cultural perceptions of religious cinema in the context of films.Therefore, by studying films in “Rooyesh film: the festival of religious cinema” and examining 369 films based on the methodology of content analysis, the question has been answered: how is the representation of religion in the films of this festival? What aspects and feature of religion are depicted in the Rooyesh festival Movies?Also cultural and social developments in religious cinema have been studied by comparing study of the first festival (2005) with the 10th Rooyesh festival Movies (2016) and has been try to answer to this question: How has the representation of the results show that admirable depict of religion was replaced by questionable confrontation of religion. Also, the representation of rituals and ceremonies of religion has declined dramatically and non-traditional religious cinema has increased in Iranian cinema. Traditional and nostalgic depiction of religious cinema that emphasizes the inherent innocence (childishness, rural simplicity, pure naturalism) or restoration and preservation of traditions (traditional rituals, traditional occupations, traditional monuments, traditional arts). These narratives were replaced by critical and traumatic cinema.

e idea that the basis of social totality can be analyzed in the image as the seemingly trivial matter of the partial totality, this study examines the status of religion in contemporary Iran in the context of cinema. The main focus and approach in this article is on the critical views of the Frankfurt School on culture and cinema. To this end, one of the most beloved religious films of recent years has been analyzed with a view to the Frankfurt School's views on culture and the media, as well as to the critical approach of "critical discourse analysis" in language. Therefore, after an analytical overview of Adorno and Benjamin's views on the culture and cinema industry and considering that in the Critical Discourse of Critical Discourse Analysis, discourse analysis alone is not capable of analyzing wider social practice and requires social theory, Video analysis is used. Describing, interpreting, and explaining the text of the Sabr-Mehr film, the three levels of textual and discursive practice and social practice have been used by Falklaf. One of the major results of the research is the dominance of commodity logic in religious films in particular, and the perception of religion in general, in the cultural industries